Who we were

Mira Asriningtyas

Mira Asriningtyas (Indonesia, 1986) works as an independent curator and art writer. In 2011 she co-founded an independent space that aims to build a supportive and positive environment for young artists – Lir Space, Yogyakarta; focusing on a laboratory platform as alternative education for young artists, creating research-based artistic projects, and using independently-published book as an alternative space for exhibitions. She was part of the Young Curator Forum of Cemeti Art House in 2013, Indonesia and joined 4A Curators' Intensive 2014 in 4A Sydney among others. Recently, she graduated from De Appel Curatorial Programme 2016/2017 at De Appel Art Center – Amsterdam. Asriningtyas is especially interested in conceptually-driven projects, combining art practice with multi-disciplinary academic background in numerous collaborations, while playing with the tension between the private and the public. She is actively performing the act of flânerie and spatial practice in her curatorial works, reusing abandoned places and public space as project site, presenting artworks with emphasis on site-specificity. Some of her latest projects are “Poetry of Space” in Jakarta and at KKF- Yogyakarta with support by the Japan Foundation; “Exhibition Laboratory (Ex.Lab.)” at Lir Space-Jogja; among others. She is now working on her long-term site-specific project called “900mdpl” in Kaliurang, a resort village under an active volcano (Mt.Merapi) in Yogyakarta, Indonesia.

Nora Heidorn

Nora Heidorn’s (Germany) current body of curatorial work Sick and Desiring: Artists Subvert the Medical Gaze, addresses cultural and medical constructions of sickness, abnormality and deviance with regard to the female reproductive body. She has been working curatorially since moving to London from Berlin in 2010 to study a BA in Curating, Communication and Criticism at Central Saint Martins and later the MFA Curating at Goldsmiths College. Alongside her studies and independent curating, she worked for four years at The Approach in London, where she was made Associate Director. At the gallery, she curated the group exhibition The problem with having a body / is that it always needs to be somewhere, as well as the exhibition Sublime Smoke: John Stezaker & Lisa Oppenheim (both 2017). As part of the collective Curate Projects, she realised exhibitions, events and a publications in Berlin and London between 2012 and 2015. She has also organised workshops, given talks and curated screenings at London institutions and project spaces, including the Wellcome Collection, Chisenhale Studios, Enclave, Central Saint Martins and 198 Contemporary Arts and Learning. www.noraheidorn.com

Kari Rittenbach

Kari Rittenbach (United States, 1985) is a critic and independent curator based in Brooklyn, New York. She attended Yale University, the Courtauld Institute of Art, and the Whitney Independent Study Program. Her writing has appeared in Afterall, Artforum, Art Papers, Frieze, Flash Art, Paper Monument, Texte zur Kunst, and in artist books and museum catalogues. She has organized performances, exhibitions, and events at The Kitchen (New York), The Whitney Museum (New York), Sculpture Center (New York), Artists Space (New York), Barbican Art Gallery (London), and other institutions. Recent projects include "What Everybody Knows" (with Monika Senz, at Svetlana, New York & Jenny's, Los Angeles, 2017), “Trees in the Forest” (Yale Union, Portland, OR, 2016), "Fever" (Galerie Emanuel Layr, Vienna, 2016), and “Dead Ends” (1001 44th Rd, Long Island City, 2015). She has lectured in art theory at the University of Washington, and is on the editorial committee of May Revue.


Lucrezia Calabrò Visconti

Lucrezia Calabrò Visconti is an independent curator based in Torino, Italy. She recently curated Abracadabra, the main project of the 6th Moscow International Biennale for Young Art, and since 2018 she coordinates the Young Curators Residency Programme of Fondazione Sandretto Re Rebaudengo, Torino. Calabrò Visconti gained education at the curatorial programme of De Appel, Amsterdam (2016-17); CAMPO12, Fondazione Sandretto Re Rebaudengo, Torino (2012-13); Artists Space, New York (2014). She graduated in Visual and Performing Arts at IUAV, Venezia, in 2012. Her recent projects include: Umlaut, the public programme for contemporary visual arts (with Stefano Collicelli Cagol and Luigi Fassi); Why Is Everybody Being So Nice?, De Appel, Amsterdam; Goodbye, See You After the Revolution! (with Shona Mei Findlay and Mira Asriningtyas), UvA, Amsterdam; Dear Betty: Run Fast, Bite Hard, GAMeC, Bergamo. In 2018 Calabrò Visconti co-founded The School of the End of Time with Ambra Pittoni and Paul-Flavien Enriquez-Sarano, and in 2015 she co-founded CLOG (Torino), a research-driven project with a focus on contemporary art and culture, autonomous education experiments and self-production projects. Her writings has appeared in contemporary arts and culture magazines (Flashart Italia, Not – NERO on Theory, L’Officiel Art amongst others) and museum publications. She worked as curatorial advisor for Artissima, Internazionale di Arte Contemporanea, Torino, assistant curator for Tutttovero by Francesco Bonami, Castello di Rivoli and GAM, Torino; Shit and Die by Maurizio Cattelan, Myriam Ben Salah and Marta Papini; TOILETPAPER Magazine and Le Dictateur, Milano.


Chus Martínez

Chus Martínez(Spain, 1972) has a background in philosophy and art history.Currently she is the Head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland.Before she was the Chief Curator at El Museo del Barrio, New York, and dOCUMENTA(13) Head of Department and Member of Core Agent Group.Previously she was Chief Curator at MACBA, Barcelona(2008–11 ), Director of the Frankfurter Kunstverein(2005–08 ), and Artistic Director of Sala Rekalde, Bilbao(2002–05 ). For the 51 st Biennale di Venezia(2005), Martínez curated the National Pavilion of Cyprus, and in 2008 she served as a Curatorial Advisor for the Carnegie International and in 2010 for the 29 th Bienal de São Paulo.During her tenure as Director of the Frankfurter Kunstverein she curated solo exhibitions of Wilhelm Sasnal among others; and a series of group exhibitions including Pensée Sauvage and The Great Game To Come.She was also the founder of the Deutsche Börse Residency Program for international artists, art writers, and curators.

Mark Rappolt

Mark Rappolt is editor in chief of Art Review and founder of Art Review Asia.He has been editor at AA Files, the journal of the Architectural Association of London, where he has also lectured as well as curated a project on the writings of texts still to be translated by George Perec and other unpublished works by members of Oulipo.His texts have been featured in several publications, such as The Times, Die Zeit, i - D and Citizen K, as well as in various exhibition catalogues, such as those dedicated to Slater Bradley, Alex Katz, Bharti Kher, David Cronenberg and more recently Yuko Mohri and Joh Kømer.Among his books are also monographs dedicated to architects Greg Lynn and Frank Gehry.He is currently co - curator of Xiàn Chãng, a major exhibition of one - artist projects that takes place within West Bund Art & Design Fair of Shanghai.New productions have been commissioned to artists from south - east and far east Asia, with the first projects involving artists Ming Wong and Michael Lin.


Residency program for young curators 2018

Curated by Lucrezia Calabrò Visconti

Coming Soon

Fondazione Sandretto Re Rebaudengo
Final exhibition of the 12th edition of the Young Curators Residency Programme

Before the era of Coordinated Universal Time, municipal (and other) clocks were set according to the position of the sun, allowing for localized cosmic interpretations. The speed achieved by eventual global synchronization — from the movement of people to the exchange of goods and capital, telecommunications, and later, financial speculation — produced the appetite for more and more surplus value, and the general ideology of acceleration. If Foucault described the biopolitical control of populations through the management of everyday life processes, today all mundane calendar activity is subjected to capitalization: education, work, social, family and other personal obligations. From a Western point of view, efficiency is the only mode of access to the new economy, and slowness either a privilege or a slur. The fetish for the “now” and the false urgency of the contemporary—to be always-already up-to- date, on trend, on-the-move—reward instant gratification at the expense of the laborious and the longer term, leaving little space for reflection, retraction, failure, or even a wasted afternoon. Yet value appreciates in time—how do you choose to spend it? Across a timeworn landscape, abstract national essentialism splinters into complex regional, territorial, and cultural specificities—a context in which many different histories and temporalities collide, coincide, and co-exist. The utopian alternate reality reveals itself as an alternate temporality, and the lapse into provincialism a hegemonic assumption. Does our experience of time—from the city, to the periphery, to the island—really change with our physical geographical location? When does reproductive work occur in the absence of wage-labor? These questions implicate our peers, our generation, ourselves, our “own” time and sense of it. Still the perpetual drive for productivity calls for creative and intellectual, care and manual work to be in process at all times. Coming Soon suggests both an answer to and deferral of this demand until a moment that has yet to arrive—a situation marked by expectation that might as well be now. The static and time-based artworks in the exhibition handle the clock either technically or conceptually, with particular concern for how the time we have can be re-valued, used and shared. Performed for the exhibition opening, Giulia Crispiani’s one-act play anthropomorphizes the characters Yesterday and Tomorrow, setting them in competitive tension. Francesco Pozzato expresses a funereal futurity in an installation that recasts camping gear as ancient Egyptian burial goods. In an animated film, Beatrice Marchi’s alter-ego rides a streetcar across an accelerated history of landscape painting while remaining in a stagnant present. Marinella Pirelli’s experimental films paint a picture of the psychological and environmental context of postwar Italy through the material of the natural world: a lake and a delicate flower’s petals. The plant life in Leone Contini’s installation transforms ideas of national territory through the cultivation of smuggled seeds. Alessandra Ferrini reorients the economic and historical circumstances of the Mediterranean region, in order to see present relations between Italy and the African continent through legacies of Italian colonialism and fascism. During their long-term collaborative performance project, Kinkaleri staged countless “small deaths” in urban capitals to prefigure the end of the era of the West. Lisetta Carmi’s timeless photographs depict subtleties of presence, absence, and marginality within Italian society. Davide Stucchi extrapolates the drawn line from two-dimensions into the space occupied by the body and back again, working out and across materialities that slowly build up and decline. The bilingual book published on the occasion of Coming Soon (Fondazione Sandretto Re Rebaudengo and NERO, 2018) presents insight into each exhibiting artists’ practice through a collection of images that partially refer to the gallery installation. The setting for this visual material is a compilation of invited works of political theory, noir fiction, and sociological analysis expressed in scholarly, epistolary, and diaristic form. These texts,republished from sources dating from 1974 to 2017, by Sonja Dahl, Ida Danewid, Giorgio De Maria, Claire Fontaine, and Simone Forti, develop different threads of research on the production of temporality, today. Along with new essays by the curators, an introduction by Lucrezia Calabrò Visconti, and prefaced by Patrizia Sandretto Re Rebaudengo, this “reader” serves to expand the calendar dates of the exhibition, and deepen the critical engagement with the artists whose work it features. —Mira Asriningtyas, Nora Heidorn, Kari Rittenbach Turin, May 2018


Lisetta Carmi
Lisetta Carmi, I Travestiti, La Morena, 1965–1970
Photograph, modern gelatin silver print, 30x40cm

Lisetta Carmi, Piazza Armerina, Sicilia, 1977
Photograph, modern gelatin silver print, 30x40cm

Lisetta Carmi, Sicilia, 1977
Photograph, modern gelatin silver print, 30x40cm
Courtesy Martini & Ronchetti, Genova

Leone Contini
Leone Contini, Giardino Viaggiante (Traveling Garden), 2018
Courtesy the artist, dimensions variable

Giulia Crispiani (1)
Giulia Crispiani, Happening Today, 2018
Banner, 200x300cm
Design: Federico Antonini. Courtesy the artist

Giulia Crispiani (2)
Giulia Crispiani, Yesterday Has Already Left, 2017
One-act play and installation, 10’
Courtesy the artist

Alessandra Ferrini
Alessandra Ferrini, Radio Ghetto Relay, 2016
HD video, 15’24’’

Alessandra Ferrini, OutCross (Black Mediterranean), 2018
Vinyl, dimensions variable
Courtesy the artist

Kinkaleri,WEST(Paris)(Roma)(Amsterdam)(Athina)(Wien)(Berlin)(Bruxelles)(London)(Beijing)(Praha)(Tokyo)( New York), 2002-2007
Video, 210’, split on two channels
Courtesy the artist and Centro per l’Arte Contemporanea Luigi Pecci, Prato

Beatrice Marchi (1)
Beatrice Marchi, Paesaggio figurativo (William Turner, Landscape With a River and a Bay in the Background), 2017
Acrylic and pastel on wood and glass, 60x85cm
Private collection

Beatrice Marchi (2)
Beatrice Marchi, Loredana across the landscapes, 2017
HD video, 4’02’’
Courtesy the artist

Marinella Pirelli (1)
Marinella Pirelli, The Lake, 1965
16mm transferred to DVD, 14’
Courtesy Archivio Marinella Pirelli

Marinella Pirelli (2)
Marinella Pirelli, To Burn, 1971
16mm transferred to DVD, 4’
Courtesy Archivio Marinella Pirelli

Francesco Pozzato
Francesco Pozzato, 1068 BC (My Father), 2018
Installation, dimensions variable
Courtesy the artist

Davide Stucchi (1)
Davide Stucchi, Not Much Could Be Saved from the Volcano, 2018
Rusted iron chain, chili spaghetti, dimensions variable

Davide Stucchi (2)
Davide Stucchi, Anacapri, 2013
Felt-tip pen on paper, 14.5x21cm
Davide Stucchi, Milano, 2018
Felt-tip pen on paper, 14.5x21cm
Courtesy the artist and Deborah Schamoni Galerie, Munich

Davide Stucchi (3)
Davide Stucchi, Naso (Pisello) X, 2017
Aluminium hanger, 25x19x26cm
Courtesy the artist and Deborah Schamoni Galerie, Munich